情难自制
酒吧女公关NIKE，一向追求刺激经历，常逼男友马交对自己性虐待，以求得到快感，但马交为人正常，对这种游戏并不欣赏，多次规劝不果，两人感情转艾旦影视,海外影院,海外影视,海外YY,海外抢先电影,海外手机影院,海外影院APP,海外中文影视,海外影视网,海外华人影院,海外影院tv,蛋蛋电影网,海外福利影院,haiwaiyingyuan。另一方面心理医生白玫瑰，每天要应酬各种变态客人，亦感到厌倦，某日NIKE到白医务所接受治疗，一时兴起两人决定掉转身份
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离奇剧院
乌多·基尔,维吉尼亚·纽科姆,卡特里娜 马科尔,艾米莉娅·戈萨姆,维多利亚·莫蕾特,丽莎·贝尔,安德烈·赫尼克,苏珊·安贝赫,哈维·弗里德曼,戴比·露珍,汤姆·萨维尼,卡内赫迪奥·霍恩,琳恩·劳里,杰西卡·瑞默斯,艾丽莎·道林,杰夫·迪伦·格雷厄姆,达蒙·帕卡德,惠特尼·穆尔,Alex Ivanovici,Amanda Marquardt,Rachelle Glait,Erin Marie Hogan,Jeremy Gladen,Lindsay Goranson,James Gill少女艾诺拉·佩妮（Virginia Newcomb 饰）偶然在深夜进入一家破败的歌剧院，乖张吊诡的演员为她表演了六个异乎寻常的故事：《蟾蜍之母》一对美国夫妇来到法国某偏远山镇旅行，在这里结识了一个诡异的老婆婆；《我爱你》德国柏林，走到尽头的婚姻，歇斯底里的偏执男人让他的妻子再也无法忍受着无处不在的狂爱；《梦遗》饱受邪淫梦境困扰的男人，在梦与现实的夹缝中迷失；《事故》真实的死亡对于一个小女孩来说也许过于费解与残酷，然而这就是它真实的原因；《记忆收集》她杀了求死的女人们，她看见并拥有了她们的记忆；《甜食》一度沉浸在甜食和热恋中的情侣，不知不觉走到了情感尽头。
机器生活
艾狄森·蒂姆林,詹姆斯·达西,史蒂文·斯崔特,德鲁·凡·阿克尔,马克·法姆吉列蒂,里桑·瓦伦丁,埃朗·米歇尔·蒙汉,希拉里·巴拉福德,尼古拉斯·巴迪一对理想主义的年轻夫妇获得了一个逼真得令人惊叹的机器人，机器人的帮助使他们无忧无虑，但随着他们日渐亲近，他们对人性的感知将会改变。
借口公司
菲利普·拉肖,艾洛蒂·丰唐,朱利安·阿鲁蒂,塔雷克·布达里,迪迪埃·布尔东,纳塔莉·贝伊,娜威尔·玛达尼,梅迪·萨东,樊尚·德扎尼亚,爱丽丝·杜富尔,菲利普·杜克斯纳,米歇尔·拉罗克,凯德·麦拉德,萨米·纳塞利,乔·普雷斯蒂亚,诺曼·塔沃,乔伊·斯塔尔格雷（菲利普·拉肖 Philippe Lacheau 饰）是“借口.com”公司的创始人，专门为需要“打掩护”的客户制造各种各样的借口和谎言。因为特殊的性质和高需求，公司的经营蒸蒸日上。一次偶然中，格雷邂逅了名为弗洛（艾罗娣·方坦 Élodie Fontan 饰）的女子，弗洛的天真和单纯深深的吸引着格雷，令后者坠入情网。格雷深信，她就是他命中注定要寻找的另一半。 然而，令格雷头疼的是，弗洛是一个对“撒谎”零容忍的的人，如果告诉了她自己的真实身份，她一定会愤怒的拂袖而去。无奈之下，格雷只得用谎言将自己重重包装，在虚伪的假面下，格雷终于和弗洛走到了一起，可是当他到弗洛家做客时才发现，弗洛的父亲竟然就是自己的客户。
地窖2024
斯科特·斯比德曼,乔丹娜·布鲁斯特,劳伦斯·菲什伯恩,克里斯·康纳,Katie O'Grady,珍妮·林·田,Randy Sean Schulman,杰萨尔·兰达瓦索,Naiya Amilcar,凯尔·斯托尔茨,Zach Feiner,Kiah Butts一对夫妇在流产后想要重新开始，他们发现自己得到了梦寐以求的房子，但有一个条件--他们永远不能打开地窖的门。他们能否在不知情的情况下生活下去，这引发了令人震惊的后果。
逃离地下天堂
麦克尔·约克,理查德·乔丹,珍妮·艾加特,罗斯科·李·布朗尼,费拉·福赛特,小迈克尔·安德森,彼得·乌斯蒂诺夫,Randolph Roberts,Lara Lindsay,Gary Morgan,劳拉·海佩西元2274年人类居住在由电脑控制的城市中，在这个城市中无优无虑，可自由毫无拘束的追求享乐；但到30岁时每一个人必须接受考验，一个探究永恒、重生的试炼……
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.